Latest news with #WillYouMarryMe
New York Post
5 days ago
- Entertainment
- New York Post
My perfect beach proposal was photobombed in the most hilarious — and shockingly sexy — way: ‘We're still cackling about this'
He got down on one knee, while she got down on the pole. The bachelor party entertainment came early for a newly engaged couple, as a smoke-show stripper, scantily clad in a sexy little number and six-inch platform heels, accidentally stole the show during the pair's waterfront proposal. 'We're still cackling about this,' joked Kylie Erickson, the buzzing bride-to-be, in the caption of a clip featuring her wild 'Will You Marry Me?' moment. 3 Kylie Erickson's engagement will forever be memorable thanks to the pole dancer, who posed for saucy snapshots just feet away from her proposal. Prostock-studio – Footage of the freaky scene, which has amassed over 1.3 million views from tickled TikTok watchers, sees Erickson, a marketing rep, accept her Romeo's ring as the waves of Wipeout Beach in San Diego, California, serve as their scenic backdrop. But just a few feet away from the lovebirds' picturesque display was the siren, swinging around on a portable stripper pole and striking steamy poses for her own photographer. Hey, it's her special day, too. 3 The unnamed dancer shimmied around her pole while a photographer took sexy outdoor pictures. Andrii – Heartwarming, yet head-turning, engagements are hotly en vogue thanks to the virality of social media and society's staggering obsession with the spotlight. From gents eye-poppingly popping the question on national television, to gals saying 'Yes!' to their partners during a massive celebration of love in Times Square, unforgettable big asks are breaking the internet, big time. 3 Popping the question in a splashy way has become a viral trend in recent years. Look! – And Erickson's outré occasion — although a complete coincidence, rather than a pre-planned setup for clout — is no exception to the trendy rule. 'This is an original experience,' raved a congratulatory commenter. 'Umm, so usually the bachelor party isn't immediately after the proposal,' a kidder wisecracked. 'Just two baddies in different stages of life,' another chimed, applauding both Erickson and the pole dancer for achieving their respective milestones. 'She was also engaging!!!!! In extreme amounts of core work and upper body strength,' teased a separate spectator. 'I think this should be the standard for all proposals,' argued another. 'Free entertainment' 'Maybe it's good omen,' a hopeful posed, to which Erickson wrote, 'I think so too.'
Sydney Morning Herald
19-06-2025
- Entertainment
- Sydney Morning Herald
A pop-rock lightning rod returns, as polarising as ever
Yungblud, Idols Ever since he exploded onto the scene with his 2018 breakout hit, I Love You, Will You Marry Me, Yungblud has been a lightning rod. An outspoken, gender-bending, genre-hopping pop-punk emo from the English suburbs, Yungblud – real name Dominic Harrison – is a magnet for curiosity and controversy. He's been accused of queerbaiting and fetishising the working class. He has been both celebrated and chastised for his political activism, affronting sincerity, and chameleonic approach to music and fashion. Depending on who you ask, he's a trailblazer or a poser, inauthentic or unapologetically himself. His music runs the gamut – he bounces like a pinball, pinging off David Bowie into Billy Idol, hitting Blink-182 and Machine Gun Kelly, grazing Robert Smith and Harry Styles. He's less an enigma than a graffiti wall, painted over until it becomes something messier and grungier but unmistakably fun and oddly beautiful. The 27-year-old's newest album sees Yungblud embracing his contradictions, whirling through the chaos in search of meaning, and emerging with a carpe diem-style optimism. It's ambitious, diverse and sprawling. But like a restaurant with too many items on the menu, you never quite know what you're going to get. The album opener is Yungblud's most impressive artistic achievement yet. Hello Heaven, Hello is a nine-minute statement of intent, and unlike Green Day's Jesus of Suburbia (which is effectively five mini-songs sewn together), it feels like a complete product from start to finish. It moves seamlessly from early-2000s pop-punk to '80s arena rock, and then shifts down into '90s Britpop. And, somehow, it absolutely works. From there, the album is almost Tarantino-esque, a technicolour pastiche. Yungblud wears his influences on his sleeve, for better and worse.
The Age
19-06-2025
- Entertainment
- The Age
A pop-rock lightning rod returns, as polarising as ever
Yungblud, Idols Ever since he exploded onto the scene with his 2018 breakout hit, I Love You, Will You Marry Me, Yungblud has been a lightning rod. An outspoken, gender-bending, genre-hopping pop-punk emo from the English suburbs, Yungblud – real name Dominic Harrison – is a magnet for curiosity and controversy. He's been accused of queerbaiting and fetishising the working class. He has been both celebrated and chastised for his political activism, affronting sincerity, and chameleonic approach to music and fashion. Depending on who you ask, he's a trailblazer or a poser, inauthentic or unapologetically himself. His music runs the gamut – he bounces like a pinball, pinging off David Bowie into Billy Idol, hitting Blink-182 and Machine Gun Kelly, grazing Robert Smith and Harry Styles. He's less an enigma than a graffiti wall, painted over until it becomes something messier and grungier but unmistakably fun and oddly beautiful. The 27-year-old's newest album sees Yungblud embracing his contradictions, whirling through the chaos in search of meaning, and emerging with a carpe diem-style optimism. It's ambitious, diverse and sprawling. But like a restaurant with too many items on the menu, you never quite know what you're going to get. The album opener is Yungblud's most impressive artistic achievement yet. Hello Heaven, Hello is a nine-minute statement of intent, and unlike Green Day's Jesus of Suburbia (which is effectively five mini-songs sewn together), it feels like a complete product from start to finish. It moves seamlessly from early-2000s pop-punk to '80s arena rock, and then shifts down into '90s Britpop. And, somehow, it absolutely works. From there, the album is almost Tarantino-esque, a technicolour pastiche. Yungblud wears his influences on his sleeve, for better and worse.
